Undergraduate Course: Music Analysis 3 (MUSI10089)
|School||Edinburgh College of Art
||College||College of Humanities and Social Science
|Credit level (Normal year taken)||SCQF Level 10 (Year 3 Undergraduate)
||Availability||Available to all students
|Summary||This course provides an advanced course of study in the analysis of Western art music through a series of workshop/seminars, leading to a portfolio submission of an Analytical Study on a work (or works) of the student's choice. The course forms a continuation from the late 18th-century focus of the pre-Honours Music Analysis 1/2. The repertoire covered in seminars will be predominantly from the 19th and 20th centuries, and showcase a variety of important compositional techniques and analytical methods that will equip students with the skills to undertake their own analysis of other music.
The course forms a continuation from the late 18th-century focus of the pre-Honours Analysis 1/2. The repertoire covered in seminars will be predominantly from the 19th and 20th centuries, but may extend from approximately the 17th century to the present day depending on participants' wishes in later stages of the course. The choice of music for the portfolio submission will be decided in consultation and with the advice of the course organiser, and may come from a wider historical time period if appropriate.
The course is designed simultaneously to introduce students to valuable musical works and to showcase a variety of important compositional techniques and analytical methods that will equip students with the skills to undertake their own analysis of other music - a type of analytical toolbox that may be drawn on selectively and critically.
Repertoire covered may include pieces or excerpts of pieces by Beethoven, Schubert, Mendelssohn, R. Schumann, C. Wieck/Schumann, Chopin, Berlioz, Wagner, Brahms, Tchaikovsky, Rimsky Korsakov, Grieg, Dvorák, Elgar, Mahler, Debussy, Scriabin, Sibelius, Schoenberg, Webern, Berg, Bartók.
Techniques considered may include: Sonata Theory and deformation; Thematic analysis and developing variation; Neo-Riemannian analysis; Schenkerian analysis and tonal schemata; phrase rhythm; metric dissonance; neo-modality and scalar modulation; pitch-set theory; serialism.
Entry Requirements (not applicable to Visiting Students)
|| It is RECOMMENDED that students have passed
Music Analysis 1 (MUSI08040)
||Other requirements|| None
Information for Visiting Students
|Pre-requisites||This course requires musical literacy, a basic understanding of 18th-20th Century Western art music, and some familiarity with basic analytical terms.
|High Demand Course?
Course Delivery Information
|Academic year 2016/17, Available to all students (SV1)
|Learning and Teaching activities (Further Info)
Seminar/Tutorial Hours 20,
Formative Assessment Hours 2,
Summative Assessment Hours 1,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
|Assessment (Further Info)
|Additional Information (Assessment)
||One Portfolio Submission (100%): an analytical study of a work or group of works of between 4,000 and 5,000 words (excluding graphs and musical examples), to be submitted in Week 12.
||Opportunity will be provided in class for continual formative feedback on classwork throughout the seminar course. The final seminar will be dedicated to providing formative feedback from the Course Organiser on a draft of the proposed portfolio topic.
|No Exam Information
On completion of this course, the student will be able to:
- Recognise a variety of compositional techniques in the music of the later 19th and 20th centuries.
- Demonstrate a range of analytical techniques as appropriate to the music in hand
- Engage with music in a precise and analytically grounded manner
|Hepokoski, James and Darcy, Warren: Elements of Sonata Theory (New York, 2006)|
Forte, Allen, and Gilbert, Steven: Introduction to Schenkerian Analysis: (New York, 1982)
Morgan, Robert P.: 'Dissonant Prolongation: Theoretical and Compositional Precedents', Journal of Music Theory, 29 (1976), 49-91
Réti, Rudolph: The Thematic Process in Music (New York, 1951)
Epstein, David: Beyond Orpheus (Cambridge M.A., 1979)
Schoenberg, Arnold : Fundamentals of Musical Composition (London, 1967)
Caplin, William: Classical Form (Oxford, 1998)
Harrison, Daniel: Harmonic Function in Chromatic Music (Chicago, 1994)
Cohn, Richard: 'As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert', 19th-Century Music, 22/3 (1999), 213-32.
Kopp, David: Chromatic Transformations in Nineteenth-Century Music (Cambridge, 2002)
Tymoczko, Dmitri: A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (New York, 2011)
William Rothstein, Phrase Rhythm in Tonal Music (New York, 1989).
Harald Krebs: Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (New York, 1999).
Walter Frisch, Brahms and the Principle of Developing Variation (Berkeley and Los Angeles, 1984).
Zbikowski, Lawrence: Conceptualizing Music: Cognitive Structure, Theory and Analysis (Oxford, 2002)
Bent, Ian (ed.): Music Theory in the Age of Romanticism (Cambridge, 1996)
------- (ed.): Music Analysis in the Nineteenth Century, 2 vols (Cambridge, 1994)
Christensen, Thomas: The Cambridge History of Western Music Theory (Cambridge, 2002)
Horton, Julian: Bruckner's Symphonies: Analysis, Reception and Cultural Politics (Cambridge, 2004),
W.D. Sutcliffe, The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style (Cambridge, 2004)
Forte, Allen: The Structure of Atonal Music. (New Haven, 1973).
|Graduate Attributes and Skills
||Critical analysis and evaluation of score-based data.
|Course organiser||Dr Benedict Taylor
Tel: (0131 6)50 4155
|Course secretary||Miss Carrie Lyall
Tel: (0131 6)50 2422
© Copyright 2016 The University of Edinburgh - 3 February 2017 4:48 am